Synthax Shipping Micstasy

Synthax Audio AG has released the new RME Micstasy high-end preamp.

Micstasy features reference quality converters and combines a number of typical RME features with a number of groundbreaking innovations. With Micstasy, not only conventional analog microphone preamps and AD-converters are a thing of the past – a lot of applications will change. In short, Micstasy is a multi-analog-input device for live, studio or installation; right up to no-compromise mobile recordings – making also surround recordings a breeze!

Micstasy can be used as an 8-channel “state of the art” mic preamp (Mic/Line In to Line Out) and a digital preamp/converter (Mic/Line In to Digital Out), with both signal paths operating simultaneously. Just passing on the amplified signals replaces the need for a splitter box on stage. Micstasy’s impressive 85dB gain range, digitally controlled in steps of 0.5dB, allows connection of all conventional analog studio signals within a range of -55dBu up to +30dBu, be it line, instrument or microphone signals.

A TRS input on the front complements the rear XLR connector. The front input receives line level signals and can be switched to a Hi-Z mode for use with instruments. Micstasy uses RME’s renowned SteadyClock technology to guarantee perfect analog to digital conversion in any clock state and independent from the external clock’s quality. The AD-converters used excel with SNRs of 120 dBA and latencies as low as 26µs (0.026ms).

Usually preamps feature limiters in order to prevent an overload, especially of the AD-converter. This is not feasible for the Micstasy, as such a limiter would ruin the excellent technical specifications of the microphone front end. However, as the gain is controlled digitally, the Micstasy can set it automatically, with a user-definable headroom of -1, -3, -6, or -12dB. RME intentionally decided to not raise the gain, AutoSet only reduces it. In an orchestral recording session, the user sets all gains to a high value and asks the conductor to let the orchestra play fortissimo. AutoSet will automatically adjust the gains by reducing them whenever the pre-defined headroom is exceeded.

Micstasy is fully remote-controllable via MIDI or MADI, allowing the device to be placed anywhere on stage or in the studio, with full control from the studio or FOH mixer. This means that microphone cables can be relatively short, ensuring high quality signals without interference.

RME´s new I64 Option Slot enables total integration of the unit in a MADI environment in combination with the I64 MADI card. More interface options are under development enabling direct connection to other interface standards.

With the new Micstasy, designing a front end system becomes easier while heavy trouble-prone analog multicores are history. A single MADI cable can transfer up to 64 channels of AES/EBU audio. Multiple Micstasys equipped with I64 MADI cards can be serially connected with one MADI cable per unit and configured to use their individual channels within the MADI stream. AutoID and Delay Compensation ensure sample-aligned operation and easy setup when designing such setups. Up to 8 Micstasys or RME´s new ADI-8 QS line converter units can thus be combined into one single 64-channel MADI stream.

Micstasy is available as the standard Micstasy version with all A/D features or also as the Micstasy M “MADI ready loaded” version with full MADI functionality on top – ready bundled with the I64 MADI card – with an attractive price advantage.

Features Overview:

8 high-end mic preamps with digitally controlled gain of 85dB in steps of 0.5dB allow connection of all conventional analog studio signals. Micstasy reaches full scale level at -55dBu, but can also handle a maximum input level of +30dBu!

Something To Think About

One always has to remember these days where the garbage pail is. It’s so easy to make sounds and to put sounds together into something that appears to be music – but it’s just as hard as it always was to make good music.

— Bob Moog

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